martes, 30 de septiembre de 2014

A Savage War of Peace: Algeria 1954-1962

A Savage War of Peace: Algeria 1954-1962 (NYRB Classics, 2006)
by Alistair Horne
England, 1977 & 2006

Having owned this fat 500+ page history for almost a full five years now according to the remaindered sticker on the front cover of my copy of it, I was genuinely relieved when I finally got around to finishing it both because it will never glare at me unloved from my TBR shelves again and, more to the point, Horne was just a little too good at documenting the widespread targeting of innocents in terrorist bombing campaigns and machine gun attacks, the many massacres, and all the atrocities that took place on both sides of the struggle during Algeria's war for independence.  That latter point is of course no knock on Horne or on his otherwise engrossing work informed by interviews with many of the winners and the losers of the war.  In any event, as somebody with virtually no prior knowledge of this moment in French/Algerian/French Algerian history, I thought A Savage War of Peace: Algeria 1954-1962 was more or less a model introduction to the subject of the death throes of what was once referred to as Algérie française.  In Part One's "Prelude 1830-1954," for example, Horne gets things started in setting up the backdrop to why mainland France would find achieving an Algerian compromise so difficult in the ensuing years by explaining that "in order to understand events from 1954 onward it is necessary to accept the existence of three totally distinct peoples - the French of France, the French of Algeria, and the Muslims of Algeria" (53-54).  In Part Two's "The War 1954-1958," Horne jumps right into the nitty gritty of the endless cycle of Muslim on white and white on Muslim violence and reprisals that will occupy his attention throughout the rest of the book, introducing the reader to such unpleasant terminology as the ratonnade (literally a "rat hunt" but here used as a euphemism for the vigilante violence entailing the rounding up and killing of Arabs as a form of blood sport revenge for violence suffered at the hands of Muslims by the pieds noirs or colonial Algerian white community) and to such topics as the Battle of Algiers and a blow by blow of the terror and torture tactics and extrajudicial killings employed by all sides during France's war with the F.L.N. (Front de Libération Nationale).  Part Three's "The Hardest of All Victories 1958-1962," primarily concerned with the end of the war in Algeria, the proliferation of pro-French Algeria right-wing extremist groups in Algeria opposed to both fellow Frenchmen and Muslim Algerians, and the eventual response of rebel French military factions so dismayed with de Gaulle's Algeria policy that they planned to take the war to the mainland and carry out a putsch on French soil, offers up more of the same but with a little more emphasis on political as opposed to military history; one French politico succinctly summarizes the mood among non-F.L.N. members with his dejected comment that "the relations between Algeria and France are a graveyard of missed opportunities" (528).  While aware that this rather bare bones outline of A Savage War of Peace doesn't really do justice to the amount of ground Horne covers in the book, I'd still like to shift gears and talk about the author as a writer rather than a historian for a moment.  Stylistically, Horne's work benefits from both the occasional well-turned phrase ("Revolt, and revenge in the Corsican fashion, were honored occupations from time immemorial," he writes about one sector of Algerian society early on [49]) and from the selection of memorable quotes ("Of the F.A.F. demonstrations, Mouloud Feraoun wrote contemptuously, 'they resemble senile beggars who masturbate in a corner to make people believe that they are virile'" [430]) that serve as a brief respite from all the neverending violence on display under the historian's microscope.  While Horne's a bit repetitive and maybe a tad old-fashioned in his biases at times--he makes several references to some variation of the description of "the blood-curdling you-you-you ululations" (431) of Muslim women, for example--perhaps that's a small price to pay given his predominantly bias-free account of years of butchery and torture and the sad but affecting way an Algerian moderate like Albert Camus gets written into and out of Horne's history as the violence escalates.  A monumental but a monumentally depressing piece of work.

Alistair Horne

miércoles, 24 de septiembre de 2014

Balzac x 3

Le Père Goriot (Gallimard, 2012)
by Honoré de Balzac
France, 1835

The Girl with the Golden Eyes [La Fille aux yeux d'or] (Melville House Publishing, 2007)
by Honoré de Balzac [translated from the French by Charlotte Mandel]
France, 1835

"Honoré de Balzac's 'Vision' of Paris"
by Owen Heathcote
England, 2013

In a brief but illuminating-for-this-particular-Balzac-neophyte essay on "Honoré de Balzac's 'Vision' of Paris" included in The Cambridge Companion to the Literature of Paris edited by Anna-Louise Milne (Cambridge and New York: Cambridge University Press, 2013, 71-84), Owen Heathcote makes the claim that "Balzac's appetite for observation"--and in particular his mythification of the city in print--"has contributed to establishing what 'Paris' is to such an extent that his vision is now inseparable from the so-called actual city.  It is no exaggeration to say that this author, famed for his 'realism,' also gave us the 'idea of Paris,' a 'paper cathedral' that absorbs the material world and replaces it with text" (74).  Whatever you make of the details of Heathcote's argument, his contention provides a convenient enough prism through which to view two Parisian novels which couldn't be more dissimilar in terms of artistic quality: Balzac's grand, wrenching Le Père Goriot and the same author's dreadful, often clownish The Girl with the Golden Eyes [La Fille aux yeux d'or].  How can thinking about these two works as examples of "Balzacian Parisian novels" help us to appreciate them in a different light than we might on purely aesthetic grounds?  As many of you already know, Le Père Goriot begins with a famous extended description of a down-at-the-heels boarding house home to a motley crew of Parisians and ends with an even more famous description of another sort of Parisian rest home, Père Lachaise cemetery, from which the no longer innocent Eugène de Rastignac, a transplanted provincial, surveys a panorama of the city which has just educated him in what it will take for him to survive amid all the meanness and scheming and social climbing of his new urban milieu.  The novel's worthy of its hype on many different levels, of course, but for my $$$ one of the not so secret secrets to its success is the way the impressionable young Rastignac is forced to choose between two role models--a charismatic criminal named Vautrin who, in the course of a nearly 10 page-long rant against society, tells Rastignac that the only two choices in life are between "une stupide obéissance ou la révolte" ["mindless obedience or revolt"] (147) and that "l'honnêteté ne sert à rien" ["honesty doesn't serve anyone"] (152), and the long-suffering title character, at one point described as "ce Christ de la Paternité" ["this Christ of fatherhood"] (282), who sacrifices everything for his two daughters' well-being only to be rejected by them in his hour of need.  Rastignac's choice should be clear but ultimately isn't given the accomplished and devastating high-wire act Balzac pulls off in the finale.  Unfortunately, where Le Père Goriot tells a story of substance and depth with appropriate references to local color even at its most melodramatic (for example, as early as the third page in, a mention of the Catacombs leads the narrator to blurt out--"Comparaison vraie!  Qui décidera de ce qui est plus horrible à voir, ou des coeurs desséches, ou des crânes vides?" ["A true comparison!  For who can say what's more horrible to observe: either dried-up hearts or empty skulls?"] [23]), The Girl with the Golden Eyes is hollow, bombastic and buffoonish in its telling of what's essentially a pulp love story.  Which is not to say that the descriptions of "the soul of Paris" being responsible for its "cadaverous physiognomy" (4) aren't amusing or that the narrator's claim that "all passion in Paris is focused on two goals: gold and pleasure" (21) is any less serious a critique of the headlong pursuit of power and wealth than the one found in Le Père Goriot.  However, unintentionally funny lines like the description of hero Henri de Marsay's "slim, aristocratic waist" (34) and howlers like the Girl with the Golden Eyes' description of a love nest as "this retreat was built for love" (87) read more like a parody of a gothic novel which just happens to be set in Paris rather than the complex statement about Paris Balzac set down in Le Pére Goriot.  Heathcote, interestingly enough, provides one reason to consider taking The Girl with the Golden Eyes seriously in speaking of the "feminisation of Paris which runs throughout La Comédie humaine."  Although it pains me to even think about ever reading the ridiculous The Girl with the Golden Eyes again, I must confess that Heathcote almost tempts me with his provocative assertion that just as "'Woman,' like Paris" is both "an enigma to be solved" and "a territory to be conquered" for Le Père Goriot's Rastignac, "if, moreover, as will be seen in La Fille aux yeux d'or, Paris is also associated with the courtesans of ancient Babylon or imperial Rome, then the identification of woman and Paris extends back in time and over space: the feminisation of Paris facilitates the transformation of description into myth and the transformation of La Comédie humaine into a new, but age-old, epic with Paris as its epicentre.  At the same time, Paris also becomes a new, nineteenth century hell - both as irresistible lure and as inescapable labyrinth" (75).  Interesting thoughts to be sure--although Heathcote clearly missed a chance to go after some low-hanging fruit when he neglected to associate The Girl with the Golden Eyes' description of an elderly woman as "the old mummy" (72) with the ancient Egyptians as he maybe could have and should have given all that ancient Babylon and imperial Rome talk.  Whatever!


Le Père Goriot and The Girl with the Golden Eyes were books #8 and #9 out of a projected vingt-quatre read for the Books on France 2014 Reading Challenge.  Still way off the pace but a little less so than I was a month ago.  No need to play the all-novellas-in-translation card just yet, but there may be after Germinal!

domingo, 14 de septiembre de 2014

Rabia

Rabia (Interzona, 2005)
by Sergio Bizzio
Argentina, 2005

Sergio Bizzio's aptly-titled Rabia [or Rage in its English incarnation from translator Amanda Hopkinson] was an edgy and entertaining if maybe overly frothy first course taste treat for this year's Argentinean (& Uruguayan) Literature of Doom line-up, which is to say that I enjoyed Bizzio's tale dedicated to a working class homicidal maniac on the loose in upscale Buenos Aires more than I'm likely to remember the misanthropic meringue after having savored and ingested it.  Still, frothy doom?!?  It wasn't entirely filling if you catch my drift, but enough about you, let's talk about me.  In what's something of a provocation-minded cross between a Buñuelesque black comedy and a Río de la Plata novel of manners set in the Buenos Aires de hoy en día, disgruntled 40-year old construction worker and loner José María meets and then falls head over heels in love with good-natured 25-year old live-in maid Rosa before eventually holing up in Rosa's employers' mansion unbeknownst to her and her high society bosses the Blinders for years when our hero's anger management issues bring him into trouble with the law.  Much of what follows once María (the character usually goes by his second name) goes into hiding and effectively drops out of society is farfetched but narrated with generous dollops of humor and brio, my favorite moments having to do with the zesty class war zingers that the protagonist occasionally lets loose with when his stealthy close quarters living arrangements as an intruder in the Blinder household lead him to make various anthropological observations about the vapid reading (Dr. Wayne Dyer, Reader's Digest) and viewing habits of his moneyed but generally soulless "hosts" in the embassy-sized home of theirs that he's occupied.  On that note, although it occurs to me that I could prob. alter the recipe for this Rabia review into something more appetizing-sounding to a couple of you by merely changing "Buñuelesque" to "Aira-esque" in that sentence above, by talking about the transformation that María undergoes once he becomes "part of the family" so to speak, or even by maybe just beefing up the post with another good Bizzio quip or two, the following description concerning the living room TV watching habits of the man in the family is prob. much more typical of the novel's true charms and appeal (the quote in question is taken from page 154 in the 2005 original and from page 149 in Amanda Hopkinson's 2009 translation available from Bitter Lemon Press):

Allí sólo excepcionalmente el señor Blinder miraba otra cosa que fútbol.  En una de esas ocasiones María se enteró de que los Estados Unidos habían atacado Irak y que en un country de la Provincia de Buenos Aires una mujer de clase alta había sido asesinada, quizá por uno de sus familiares, sin que los investigadores consiguieran descubrir al asesino.  La guerra y el crimen del country --con las interminables discusiones y conjeturas que despertó-- eran los únicos asuntos que para el señor Blinder habían tenido en mucho tiempo más atractivo que el fútbol.

[There Señor Blinder watched almost nothing but football matches.  On one occasion, María gathered that the United States had attacked Iraq, and that a woman in a country house somewhere in Buenos Aires province, an upper-class woman, had been murdered, possibly by a family member, although an extensive investigation had thus far failed to find the assassin.  The war and the rural crime - with all the interminable discussions and conjectures they elicited - were the only subjects which, in the course of many years, had proved substantially more attractive than football.]

Sergio Bizzio

For a more appreciative take on Bizzio's Rabia, which--don't get me wrong--I did in fact enjoy, Spanish readers are encouraged to check out Ever from barcoborracho's high-energy post on the novel here (gracias a Ever por la recomendación).
*
Also, on an unrelated note, anybody interested in joining me for a group read of Macedonio Fernández's Museo de la novela de la Eterna [a/k/a The Museum of Eterna's Novel (The First Good Novel)] is invited to check back here somewhere around the end of the month or the beginning of the next month--a bit behind on the group reads these days alas.

domingo, 31 de agosto de 2014

Rosie Carpe

Rosie Carpe (Les Éditions de Minuit, 2001)
by Marie NDiaye
France, 2001

Rosie Carpe, the 2001 Prix Femina winner that's sort of a fucked-up distant cousin cousine to Pedro Páramo in some respects, was pretty much half gripping and half grating during the time I was reading it.  So while I try to sort out just how much I "liked" the book, I'll try to give you a couple of ideas as to why this wasn't/isn't immediately clear to me despite the fact that I found it a rewarding read for plenty of other reasons.  In the opening sequence, the title character is introduced to us as a 20-something white Frenchwoman who arrives in Guadeloupe looking for her trouble-prone older brother, Lazare, whom she hasn't seen in the five years since he bummed money off her to start a shady sex toy business in the Antilles.  At the airport, she's met by a friendly but somewhat reserved black man sent by Lazare, Lagrand, whom she momentarily mistakes for her pale white brother for some reason or other that's initially unclear.  Nonsensical and annoying?  Totally!  At least until you realize that something's really, really wrong with Rosie, the unwed mother of a five year old boy who's also pregnant with another child on the way, and the text is only, ahem, faithfully replicating the character's fragmented, traumatized point(s) of view.  As luck would have it, the supposed island paradise of Guadeloupe--like Juan Preciado's phantasmal Mexican town of Comala in the Rulfo novel--turns out to be sort of an otherworldly destination point for Rosie with the important distinction that, unlike in Pedro Páramo, the protagonist here is only surrounded by the living dead--i.e. emotional vampires who feed off others--rather than the actual dead throughout most of her odyssey and eventual metamorphosis.  Although the symbolic undead/vampirism connections in the novel are so strong that at one point a hummingbird lands on one particularly evil character's feet and almost immediately keels over dead and at another point the increasingly distressed Lagrand responds to the specter of dozens of rats running loose under the guava trees with the assumption that they will naturally follow in another character's footsteps as familiars or minions, NDiaye sees to it that a sleazy, post-milennial realism usually keeps the more hallucinatory, nightmarish moments in check in the form of several powerful scenes involving amateur porn filmmakers, the death by machete of an innocent tourist, the bizarre discovery that the uncaring parents who'd abandoned Rosie and Lazare to their fates back home in metropolitan France had followed Lazare to Guadeloupe and are now happier than ever as the result of a rather incestuous mate-swapping arrangement, and--in a top that child endangerment coda--the prostitution of a beautiful young girl by her parents.  With all that as a backdrop, is it any surprise that the troubled Rosie will eventually decide that her happiness as a woman may come at the expense of the loss of one her children as a mother in something resembling the biblical sacrifice of the slaughter of the lambs?  NDiaye obviously gives you a lot to think about in Rosie Carpe, but as I've already touched on not all of it worked for me.  My major complaint has to do with the handling of the POV of the various characters.  In the long third chapter dedicated to Lagrand, for example, the fact that his perspective was related in the same claustrophobic way as Rosie's earlier on in the work was frustrating to me since it came without any apparent explanation for the similarities in style.  Had Lagrand's feelings for Rosie miraculously transformed this apparent innocent into "le réceptacle de toutes les tristesses et les vilenies" ["the receptacle for all the sorrows and all the baseness"] (235) that the freak magnet of a title character had suffered as for all her life?  Or was Lagrand merely suddenly going mad without warning like the mother who had abandoned him when he was a ten year old?  Whatever, I found this part unconvincing and tiring in stretches at the expense of some otherwise top notch, aggressively risky storytelling.  A related but much more minor complaint stems from the fact that with an entire cast full of madwomen in the attic so to speak, the grist of the novel was way over the top at times.  Perhaps this was unavoidable given the scope of the novelist's ambitions and her attempt to breathe life into a lonely, damaged title character self-described as "ne se sentant plus être que l'insignifiante enveloppe charnelle de Rosie Carpe" ["not feeling herself to be anything other than the insignificant carnal shell of Rosie Carpe"] (149) rather than a fully realized person.  On the positive side of things, though, I was endlessly fascinated by NDiaye's Gérard de Nerval-like use of colors, her utter unpredictability as a writer, and the often sensuous appeal of her prose despite the brutality and the squalor that are also present.  Probably the best single example of this in the entire novel is the lovely, even fragrant extended description of "une toute jeune fille" ["a very young girl"] who is perceived rather than actually seen by Lagrand as akin to "une longue flamme échappée du jardin" ["a long flame which had escaped from the garden"] and the bearer of a perfume reminiscent of the "tièdeur profonde de terre ou de sable au soleil" ["profound warmth of earth or sand in the sun"]--well, at least you might think it's lovely until you realize that "cette forme lumineuse, vibrante" ["this luminous, vibrant form"] and "cette incandescence en mouvement" ["this incandescence in motion"] (331), so appealing to both children and adults alike in the scene, is the very same girl who will later be put to work as a prostitute by her loving parents.  Ladies and gentlemen, je vous présente Marie NDiaye.

Marie NDiaye

Thanks to Victoria/Litlove from Tales from the Reading Room for recommending Marie NDiaye to me earlier in the year.  For those interested in Victoria's take on Rosie Carpe and its place within a personal canon of French literature c. 2006, please see Victoria's inviting words here.  The novel is also available in an English translation under the same name prepared by Tamsin Black for the University of Nebraska Press' European Women Writers series.

lunes, 25 de agosto de 2014

Hell in a Very Small Place: The Siege of Dien Bien Phu

Hell in a Very Small Place: The Siege of Dien Bien Phu (Da Capo Press, 2002)
by Bernard B. Fall
USA, 1966

While I probably should have known better given all the raves I've heard about it over the years from reliable people as close to me as my dad, Bernard B. Fall's Hell in a Very Small Place: The Siege of Dien Bien Phu, the classic account of the punishing 56-day 1954 battle between the French and the Viet-Minh that effectively ended France's control over French Indochina forever, marked "the end of France as a colonial power" (414), and paved the way for the U.S. entanglement in Vietnam less than a decade later, still managed to sneak up on me.  Surprised me with its narrative intensity.  Surprised me with Fall's smarts as an analyst.  Surprised me with its ability to suss out the heroism and bedrock humanity of men engaged in the most inhumane of human activities without ever once glamorizing war or demonizing the enemy.  Fall, an Austrian-born, French-raised Jew who lost both his parents to the Nazis before moving to the U.S. to become a history professor at Howard University and a war reporter for publications as elite as The New York Times and The Washington Post, himself died less than a year after publication of Hell in a Very Small Place while out on patrol with U.S. Marines near Huê in central Vietnam, which for this reader lent an additional, retrospective element of solemnity to the reading of his requiem in prose.  But for others perhaps less readily swayed by the parallels between Fall's fate and his subjects', what can his history offer?  For starters, for all its harrowing moments involving artillery barrages, trench warfare and the like, this book is also so full of "novelistic" twists and turns that it's just mindboggling.  In terms of the "characters" alone, for example, there's the great unexpected vignette dedicated to one Sgt. Rouzic, who "in civilian life had been the driver of the getaway car of France's most famous postwar gangster, Pierrot-le-Fou (Pierre the Crazy One) and had decided to join the French army in Indochina when the French police began to close in on his employer" (147) and then there's the more down to earth but equally compelling story of the Algerian Legion of Honor medalist Lt. Belabiche, accused of being "just another 'lackey of the imperialists'" by his Viet Minh captor but of whom we learn, in a patriotic twist of fate, "eight years later, Belabiche was a captain in the Algerian National Liberation army, training young Algerian officers at what had been the French officers candidate school at Cherchell, west of Algiers" (420).  In terms of analysis, Hell in a Very Small Place shines for both its soundbites--Fall's retort to a hypocritical publicity memorandum that the inadequately supplied "defenders of Dien Bien Phu have up to now covered themselves with glory and are an object of admiration for the Free World" is derisory: "The price of that unsullied glory," he writes, "came to 5,000 dead, 10,000 prisoners, and a lost war" (361)--and for the far more complicated work spent shedding light on matters previously left in the dark.  For example, two weeks into the battle in a matter that Fall states "has never been fully explained," a Lt. Col. Langlais apparently took over responsibility for the defense of Dien Bien Phu from a withdrawn Gen. de Castries when "according to senior officers who were eyewitnesses to part of the drama, Lt. Col. Langlais, flanked by the fully armed commanders of the paratroop battalions at Dien Bien Phu, entered de Castries' office and bluntly told him that henceforth the effective command of the fortress would be in his own hands, but that as far as the outside world was concerned de Castries would retain the appearance of command and would serve as an intermediary between the paratroop commanders and Hanoi" (177).  Whether this smacks of decisiveness or desperation on the part of the besieged garrison's top defenders is beyond my ability to say.  However, I found Fall's explanation thoroughly convincing and typical of his own calm under pressure as a historian of the battle: "In view of the subsequently excellent personal relations between Langlais and de Castries, it is difficult to describe what happened on March 24 as a 'mutiny' or a Putsch by what some staff officers called the 'paratroop Mafia' or 'Langlais' Brain Trust.'....  To paraphrase a senior officer who was there, GAP 2 logically took the place of a command organization that no longer existed, and exercised prerogatives whose effective usage the commander of the fortress had ceased to exercise" (177, ellipses added).  Finally, the work offers up any number of tributes to the fighting spirit and the arguably futile sacrifices on display at Dien Bien Phu as in this one, regarding the French Foreign Legion members who cried when their friends prepared to attempt a breakout, "not for fear of their fate, for it was known by then that the Communists did not massacre prisoners, but out of shame that they would have to surrender to the enemy" (398), and in this one, regarding the dead who were left to rot on the battlefield when it was all over: "Most of the French dead are, like royalty, swathed in silk shrouds.  Parachute nylon, like courage, was one of the common items at Dien Bien Phu, and on both sides" (449).  As I probably should have expected, a tour de force.

Bernard B. Fall (1926-1967)

martes, 19 de agosto de 2014

The 2014 Argentinean (& Uruguayan) Literature of Doom

With Spanish Lit Month 2014 finally winding down, I suppose now is as good a time as any to announce that I'll be hosting one of the most unpopular events in all of blogging--the Argentinean Literature of Doom--for the third year in a row this fall and winter.  Please consider reading along with me and becoming wildly unpopular too!  For those new to the event, the ALoD was originally inspired by two great posts from Tom of Wuthering Expectations that you can read all about here and here and was at least partly dedicated to testing Roberto Bolaño's thesis that a "strain of doom" evident in post-Borges Argentinean belles-lettres was due to the noxious influence of one Osvaldo Lamborghini and his art terrorist pals and successors (César Aira, take a bow).  Last year, however, I think it's fair to say that all of the other ALoD participants and I mostly used the event as a pretext to read or reread some of our favorite Argentinean authors in "like-minded company" (César Aira fans, take a bow).  Hopefully, that'll be a big enough draw to lure discriminating returning doomsters back for one more year. But where exactly do you, the prospective ALoD newcomer, fit in with all this doom business?  Should you decide to participate, you may join as easily as reading and then writing about at least one piece of Argentinean or Uruguayan literature sometime between September 1st and December 31st.  More intrepid souls can also "challenge" me to read a specific work from the vast corpus of Argentinean or Uruguayan literature with you sometime during the same time period although to be honest this hasn't been a very popular option so far.  In either case, your choice of reading material for the event doesn't have to be "doom-laden" at all; the only criterion is that the work must have been written by an Argentinean or a Uruguayan author--please, none of that reading challenge nonsense about submitting novels written by non-Argentineans and non-Uruguayans which are only set in Argentina or Uruguay.  Weak!  Uruguayan literature, in case anybody's curious, was added as an option this year both because of the strong cultural ties linking Río de la Plata men and women of letters on both sides of the river and because of Uruguayan writers' propensity for punching above their weight class relative to the population of their country.  Of course, it didn't hurt that I have a bunch of books by Mario Levrero, Onetti, and Horacio Quiroga calling my name either.  In any event, hope you can join us (below, a mini-Doom bibliography from the two previous events).

Doomsters

The Argentinean Literature of Doom: Año 2 (2013)
Amateur Reader (Tom), Wuthering Expectations

Richard, Caravana de recuerdos
Help a él by Fogwill
El limonero real by Juan José Saer
Bahía Blanca by Martín Kohan
"Evita vive" by Néstor Perlongher
"Torito" by Julio Cortázar
"El uruguayo" by Copi
El sueño de los héroes by Adolfo Bioy Casares
Autobiografía de Irene by Silvina Ocampo
Las armas secretas by Julio Cortázar
Los Fantasmas by César Aira
La última de César Aira by Ariel Idez

Rise, in lieu of a field guide

Scott, seraillon

The Argentinean Literature of Doom (2012)
Amateur Reader (Tom), Wuthering Expectations

Miguel, St. Orberose

Richard, Caravana de recuerdos
Facundo.  Civilización y barbarie by Domingo Faustino Sarmiento
Siete noches by Jorge Luis Borges
Boquitas pintadas by Manuel Puig
Cómo me hice monja by César Aira
La Vida Nueva by César Aira
"El Fiord" by Osvaldo Lamborghini

Rise, in lieu of a field guide
This Craft of Verse by Jorge Luis Borges
"The Golden Hare" by Silvina Ocampo

Séamus, Vapour Trails
Hopscotch by Julio Cortázar

domingo, 17 de agosto de 2014

Spanish Lit Month(s) 2014: 8/3-8/16 Links


FOR IMMEDIATE RELEASE
"We" interrupt this busy/slothful reading weekend to announce the latest set of Spanish Lit Month links now available at a blog near you.  A final SLM 2014 round-up post should appear next weekend or thereabouts.  For further information, yadda yadda yadda & etc....

Grant, 1streading's Blog
The Topless Tower by Silvina Ocampo

JacquiWine, JacquiWine's Journal
Sidewalks by Valeria Luiselli

Miguel, St. Orberose
Yo no soy yo, evidentemente by Gonzalo Torrente Ballester

Richard, Caravana de recuerdos
El temps de les cireres by Montserrat Roig